Jethro Tull were just one of the many grey pilgrim acts putting on post-Bluesfest sideshows as part of their nostalgia tours tonight. One woman, who had bought tickets to both tonight’s show and that of Mr Robert Zimmerman, was anxiously trying to offload one or the other in the queue, while simultaneously trying to decide which to use. "Keep the Tull", we advised, it probably being the last chance to catch them before Ian Anderson’s voice disintegrates completely and he’s forced to retire. Not that he’ll be on the streets anytime soon, what with cluey investments in fish farms ensuring he’ll be rolling in it once global ocean stocks collapse.
The Tull milked it for all they’re worth, with a still spry, bandy-legged Anderson capering around the stage with as much energy as might have been exhibited back in the band’s heyday – although at 63, the move from tights and codpiece to black jeans was a welcome one. Less welcome was the mimed flute masturbation; what might’ve been risque in 1969 now seems just a little… unnecessary. That said, half the entertainment tonight was in enjoying Anderson’s antics, as he played to the expectations of his audience with a knowing twinkle (although the fact that he’s also a genuinely superb flautist was occasionally overshadowed by his exaggerated showmanship). There was an element of musical history lesson at work in the setlist, with Anderson’s chatty interludes placing each song in context. Barely playing any material post-1974, songs from each of the group’s major releases from their debut to that point were featured, with highlights including ‘Thick As A Brick’ and ‘Farm Freeway’ – though it was the chunky riff of ‘Aqualung’ that remained stuck in our heads for the ensuing 36 hours.
To be honest though, it became difficult not to drift off in the second half. While innovative for their time, the group’s proggier excesses began to seem rather dull after a while, with everything fading together into a blur of angular hooks. Not that a predominantly baby boomer audience minded too much, one gentleman in particular growing so agitated with excitement that rhythmically thrashing around in his seat proved inadequate in expressing his passion of the moment, rising during the encore to throw himself around the front centre aisle. Good times.
Monday, May 16, 2011
Wye Oak - Civilian
Since their inception in 2006, Baltimore duo Wye Oak have released two lushly beautiful albums that have established them as purveyors of intensely felt noise pop, drawing as much from Americana as the likes of My Bloody Valentine. Their third cements their reputation, moving deftly between subtle modulations of colour and shade, remaining sincere without ever becoming shrill.
At its foundations, Civilian is built from large slabs of interlocking textures. Jenn Wasner deals in melodically gorgeous hooks laden with just the right amount of distortion, while her partner and consummate multi-tasker Andy Stack generates some compelling propulsion with a carefully looped mixture of drums, bass and keyboards. Even at their most gargantuan the pair aren’t overly demonstrative, Wasner’s woodsmoke-laden harmonies sitting perhaps a touch too far back in the mix.
Their sound recalls groups renowned more for a sense of unassuming interiority than any overblown extroversion – the title track wouldn’t be out of place on a Calexico release. The folk-rock inflections of a track like ‘Plains’ veers more towards the dreamy melancholia of Songs: Ohia than Bright Eyes, while the feel-good waves that roll off ‘We Were Wealth’ suggest more the Do Make Say Think brand of post-rock than the guitar-fest of Explosions In The Sky. Though the sonic explosions that punctuated their previous effort The Knot are largely absent, Civilian is nonetheless studded with clusters of distortion that suddenly loom and vanish as quickly. There are some exhilarating moments here; the mesmerising tail of ‘Hot As Day’ for instance, or the frayed vulnerability of Wasner’s voice on album closer ‘Doubt’.
Never less than compelling.
First published in The Brag, Iss. 412, May 16th 2011
At its foundations, Civilian is built from large slabs of interlocking textures. Jenn Wasner deals in melodically gorgeous hooks laden with just the right amount of distortion, while her partner and consummate multi-tasker Andy Stack generates some compelling propulsion with a carefully looped mixture of drums, bass and keyboards. Even at their most gargantuan the pair aren’t overly demonstrative, Wasner’s woodsmoke-laden harmonies sitting perhaps a touch too far back in the mix.
Their sound recalls groups renowned more for a sense of unassuming interiority than any overblown extroversion – the title track wouldn’t be out of place on a Calexico release. The folk-rock inflections of a track like ‘Plains’ veers more towards the dreamy melancholia of Songs: Ohia than Bright Eyes, while the feel-good waves that roll off ‘We Were Wealth’ suggest more the Do Make Say Think brand of post-rock than the guitar-fest of Explosions In The Sky. Though the sonic explosions that punctuated their previous effort The Knot are largely absent, Civilian is nonetheless studded with clusters of distortion that suddenly loom and vanish as quickly. There are some exhilarating moments here; the mesmerising tail of ‘Hot As Day’ for instance, or the frayed vulnerability of Wasner’s voice on album closer ‘Doubt’.
Never less than compelling.
First published in The Brag, Iss. 412, May 16th 2011
My Friend The Chocolate Cake - Fiasco
My Friend The Chocolate Cake have been kicking around since David Bridie and Helen Mountfort of Not Drowning, Waving began it as a side project in 1989. With Fiasco, the group’s seventh studio record, Bridie’s take on acoustic, musically intricate pop sounds as warm and fortifying as ever – while the ingredients have been refined, the cake mix hasn’t changed much.
There are no surprises here. The record functions as a showcase of the MFTCC sound, with Bridie’s thoughtful, literate songwriting wrapped in a slightly folky, almost easy-listening veneer that has characterised the group’s sound from the beginning. This is no bad thing; songs like ‘Everything We Need’ or ‘Measured Best’ provide stirring nourishment, with Bridie’s musings on the nine-to-five treadmill and the absurdity of suburban living (staple themes, best aired in 2007’s Home Improvements) wrapped in comfortingly familiar arrangements.
As in past releases, Mountfort’s elegant instrumentals give the string players the opportunity to show their chops between the clusters of Bridie originals. Even the cover art, an involving collage by Warwick Jolly (who also decorated their debut and numerous other releases), suggests continuity rather than evolution. Which seems to be what the group’s voracious cult following wants. Still, one gets the impression that Bridie wouldn’t mind putting his ‘Cake days behind him to focus on his musical work in Papua New Guinea and his solo career, rather than serving up more helpings of the same meal.
Fiasco is a generous plateful of quintessential chocolate cake, and really, it’s a pretty good recipe. Provided you like cake.
First published in The Brag, Iss. 412, May 16th 2011
There are no surprises here. The record functions as a showcase of the MFTCC sound, with Bridie’s thoughtful, literate songwriting wrapped in a slightly folky, almost easy-listening veneer that has characterised the group’s sound from the beginning. This is no bad thing; songs like ‘Everything We Need’ or ‘Measured Best’ provide stirring nourishment, with Bridie’s musings on the nine-to-five treadmill and the absurdity of suburban living (staple themes, best aired in 2007’s Home Improvements) wrapped in comfortingly familiar arrangements.
As in past releases, Mountfort’s elegant instrumentals give the string players the opportunity to show their chops between the clusters of Bridie originals. Even the cover art, an involving collage by Warwick Jolly (who also decorated their debut and numerous other releases), suggests continuity rather than evolution. Which seems to be what the group’s voracious cult following wants. Still, one gets the impression that Bridie wouldn’t mind putting his ‘Cake days behind him to focus on his musical work in Papua New Guinea and his solo career, rather than serving up more helpings of the same meal.
Fiasco is a generous plateful of quintessential chocolate cake, and really, it’s a pretty good recipe. Provided you like cake.
First published in The Brag, Iss. 412, May 16th 2011
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